This "Christmas special" follows on from the conclusion of
Alison Goes to London
-- but it can also stand alone.
~
It is 2051, and under the "Enlightenment", Europe is ruled by Pleasure, and love is eschewed. Claire and Bradley have graduated from the Royal Academy of Fucking and, assisted by their friend, up-and-coming anal slut Riley, have set up a fuck-café in Cuntden Market. However, their best friend Alison has fled the Union and has married Rob, who is black, an "Undesirable" under Enlightenment law. Alison's parents, pillars of the fucking establishment (her father being the CEO of the biggest butt-plug company in Europe) are, naturally, scandalised. At least, London's Princess Asshole Hospice is now free of its sadistic former director Dr Hildegard Fotzenficker and her sidekick Nurse Datchet. It was Hildegard who brutally killed Rob's father; despite this, Rob tried -- and failed -- to save Hildegard's life before she fell to her death at 38B Tottenham Cunt Road last year.
~
The smell of hot coffee, roasted chestnuts and stale semen wafts through the winter air as she picks her way up Cuntden Lock Place. She stops frequently to check behind her, as if afraid she might be sighted; with each pause, her long faux-mink coat swirls in the morning fog, and a new brief moment of misty early-morning silence punctuates the rhythm of her cobble-clicking heels. If one were to get close enough, one might see in her face an intermittent, unspoken, almost unnatural anxiety -- unnatural because, in this year of AD 2051, anxiety is very rare, for all the troubles of the world have been cast aside by the Great Enlightenment: now the civilised world is ruled by Pleasure. Only in the Outside World is there anxiety, or ugliness, or poverty, or oppression -- or that most outdated of sentiments, 'love'.
All these thoughts pass through her mind in an instant and, thus reassured, she pulls herself together, confecting a triumphant smile and briskly continuing her journey. As she dodges through alleyways and courtyards, she passes shut-up shops, folded-up street stalls, and cafés just beginning to grind into action, their "closed" signs still firmly in place despite the noises and smells emerging from within. The street cleaners are only just beginning their work, and the detritus of the previous night's street revelries lies untidied along the pavements and pathways: discarded anal beads, cock-rings, lube bottles. In the distance, a woman in a red dress disappears round a corner, her long auburn hair swishing in the mist. Fog-damp seasonal decorations adorn the walkways: tinsel and bunting peppered with little origami penises; baubles shaped like breasts, their nipples gleaming in the weak sunlight; and posters of snowman orgies, angel blowjobs, and Santa and his crew of futa elves enjoying an anal daisy-chain. As she passes a small fast-food joint, she hears the disjointed strains of
I Saw Momma Fucking Santa Claus
blaring from a crackly kitchen radio.
Eventually, she reaches the urban Canal, in time to see a boat swish slowly by, three youngsters enjoying a quiet spit-roast on the blanket-covered upper deck, the girl's hair tied back with a bright yellow ribbon as she sucks the cock of one of her companions, whilst the other slides into her cunt from behind.
What wonderful times we live in
, the woman thinks to herself.
It was not like this for our forefathers, imprisoned and hidebound by the prudishness and ignorance of the Old Times. Long live the Enlightenment!
At last, she finds her destination, checking it against her map -- a small café facing the Canal, emblazoned with the sign:
CLAIRE'S CUNT KITCHEN:
purveyors of fine food, fucking and food-fucking
-- the glass of the door adorned with a large, lovingly-drawn picture of said cunt, open, glistening and pink, enticing the customers in.
Beautiful
, she thinks, admiring the artwork -- before she remembers why she is here, and that shadow of anxiety reclaims her face, making her, unusually, look her age.
The sign on the door, tastefully hung from Claire's painted swollen clitoris, says "closed" (in ironic contrast to the cunt itself); but through the pink glass, she sees a light on behind the counter and some steam emerging from the kitchen behind. She knocks three times, peering (approximately urethra height) through the steamy glass to discern signs of movement within. A second set of knocks --
shave and an assfuck
this time -- succeeds in attracting a teenage face, bleached blond hair tied back into a ponytail, looking quizzically through a crack in the doorway. "M' pussy," says the girl. "Sorry, we're not yet open. Can ya come back at nine?"
The would-be customer is not deterred. "Lick my pussy," she says in a business-like manner. "I'm looking for Claire."
"She's not normally in till nine. I open up on Saturdays." The girl has a charmingly plebeian voice: "But if you wanna wait inside till she arrives, I'm sure that'll be all righ'..."
The café is filled with comforting smells which waft out from the kitchen: freshly baked bread, coffee, grilled bacon and warm cunt. The pink walls are covered with posters of great film classics of the last century (
Deepthroat
,
New Wave Hookers
,
Debbie Does Dallas
), as well as more recent hits with a culinary bent (
Banana Bitches III
,